Yesterday men: Sam Yates’ David Mamet revival is stilted and superficial.
Feels more like a product of Hollywood than the film: Arjun Sajip reviews the West End premiere of The Exorcist adapted for the stage.
Fine-tuned absurdity: Simon Gwynn reviews the return of David Grieg’s stage adaptation of Dr Seuss to the Old Vic.
First farce, then tragedy: Tim Bano on Richard Bean’s knockabout capitalism comedy.
Food for our fragile islander egoism? Sally Hales reviews the new staging of Agatha Christie’s courtroom drama.
Jazzy trots, pom-pom berets and balletic vaudeville swagger: Anna Winter reviews Concerto / Le Baiser de la fee / Elite Syncopations.
A full-on feminist call to action: Sally Hales reviews Elinor Cook’s new adaptation of Ibsen.
I mean, at least you’d have a woman’s voice… Adelaide Waldrop and Brendan Macdonald record their post-show discussion about David Ives’ play.
“You can almost hear Wilde laughing at our desire for moral certainty”: Naomi Obeng reviews the opening production of a year long season of Oscar Wilde.
A very lovely play in lots of very lovely ways: Miriam Gillinson reviews David Eldridge’s new play about the start of a relationship.
A sledgehammer made of metaphor: Fergus Morgan reviews Rory Mullarkey allegorical play about the history of Britain.
‘Oh, Jeremy Corbyn!’ Alice Saville reviews James Graham’s play about the Labour party.
“An intriguing, cerebral and destabilizing piece of theatre”: Brendan Macdonald on Vicky Featherstone’s production of Chris Thorpe’s bold new two-hander.
“So this is what happens when the manic pixie dream girl grows up”: Holly Williams on the cliché-ridden romance of Simon Stephens’ new play.
‘Like watching a masterpiece being painted and repainted in front of your eyes for hours’: Sally Hales reviews Yukio Ninagawa’s Macbeth.